Franklin Furnace’s Goings On
November 12, 2003
CONTENTS:
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1. GuerrillaGirlsBroadBand receives Martha Wilson’s BAXten Award.
2. Dread Scott and others comment on role of political art, TONITE, 6:30 PM at Nathan Cummings Foundation.
3. Barbara Hammer, FF Alumn, at Anthology Film Archive, Nov. 23, 4pm
4. Raul Zamudio, FF Alumn, curates video works at Windsor Hotel, November 15.
5. Todd Alcott, R. Sikoryak, FF Alumns, at Dixon Place at the Marquee, November 12
6. Jacki Apple, FF Alumn, at Armory Center for the Arts, Pasadena, CA, Nov. 21-23
7. Yoav Gal, FF Alumn, multiple events in November-December 2003
8. Paul Zaloom, FF Alumn, launches new website, www.paulzaloom.com
9. A.A. Bronson, Istvan Kantor, Rachel Rosenthal, Annie Sprinkle, Martha Wilson, FF Alumns, in FADO’s Performance Party/Auctin, Nov. 29, Toronto
10. Barbara Kirshenblatt-Gimblett at Lower Manhattan Cultural Council, Nov. 12, 7-9 pm
11. Stanya Kahn, FF Alumn, new video work, The Brewery Project, LA, opening Nov. 15.
12. Matthew Geller, FF Alumn, Foggy Day at Cortlandt Alley, thru Nov. 14th
13. Nurit Newman, FF Alumn at Sara Meltzer Gallery, opening November 22, 6-8 pm
14. Tim Miller, FF Alumn, news from Japan tour.
15. Tom Otterness, FF Alumn, at Harvestworks, November 14, 7 pm
16. Kim Jones, FF Alumn, at ArtPace, San Antonio, opening November 13, 2003
17. Alien Comic, FF Alumn at La Mama, Nov. 13-30, 2003
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1. GuerrillaGirlsBroadBand receives Martha Wilson’s BAXten Award.
On November 6, at the Prospect Park Picnic House, wearing a dress by feral childe that looked like it had been made love to in a closet by cats, Martha Wilson gave her BAXten PASSING IT ON AWARD to GuerrillaGirlsBroadBand. Giving her award, Wilson said, “I want these wylie, wired, next-generation feminists to take over the world.”
Alejandra Pizarnik and Edmonia Lewis accepted on behalf of the Broads, throwing foam bananas to the crowd bearing the legend, THINK OF THE BROADS WHEN YOU SQUEEZE YOUR BANANA, WWW.GGBB.ORG
The BAXten Arts and Artists in Progress Awards, now in their third year, honor individuals in the arts who have revealed and transformed our creative world. Each BAXten Award recipient chooses an individual or an organization/project to receive his or her cash PASSING IT ON AWARD. Other awardees this year were Meredith Monk, Jennifer Miller, David Pleasant, Jackie Chang and Nathan Elbogen.
At the turn of the new millennium, the Guerrilla Girls “spread their wings” to accommodate their broadening interests. GuerrillaGirlsBroadBand, Inc. is the interactive activist wing of the Guerrilla Girls, utilizing the potential of new media to increase activism and involvement.
A BRIEF HERSTORY OF THE GUERRILLA GIRLS
In 1985, a band of feminist artists founded the Guerrilla Girls in the wake of Kynaston McShine’s remark that any artist who wasn’t in his international survey show at the Museum of Modern Art, should “rethink HIS career.” For the next 15 years, the Guerrilla Girls donned gorilla masks and anonymously critiqued the status of women in the artworld by producing posters, billboards, performances, public actions, stickers, spy kits, television appearances, magazine and newspaper interviews, films and two commercial books.
Toward the end of the 20th century, the Girls sought out new frontiers in their fight for truth, justice and the feminist way. They felt that their irreverent brand of feminism was needed beyond the confines of the artworld. Posters which once appeared on the walls of SoHo in the dead of night now appear on the Internet, in museums, and books. The Girls travel the world over, daring to speak out against discrimination and inequity wherever it rears its ugly head.
In 2001, GuerrillaGirlsBroadBand formed to tackle the primordial discrimination of our technologized world. The Broads’ site, http://www.ggbb.org launched in July, 2001, pioneering interactive activism and other projects which take advantage of the worldwide reach of digital media.
http://www.ggbb.org includes an interactive workplace quiz, “Bitch or Broad?” which allows employees to send a letter to their Bad Bosses through the site to avoid being canned for complaining. Posters, videos and animations include “Guerrilla Girls’ Identities Exposed,” and a streaming video is entitled “Dead Women Artists Speak.”
Additional features of the GGBB website include:
~ participatory MESSAGE FORUM on the “F” word–AND MORE!
~ SHWAG for sale!
~ projects responding to WAR in Iraq!
~ STRUT: Feminism and Fashion — survey, videos, and fun with duct tape!
Surf on over and GO APE!
(*)(*) (*)(*) (*)(*)
If you would like to receive email updates about GuerrillaGirlsBroadBand monkey business, please take a moment to sign up for their email list at
http://www.ggbb.org/cgi/mojo/mojo.cgi?f=s&l=ggbbnews
For Press inquiries on the Broads, please contact Gertrude Stein at press@ggbb.org, or write to:
GuerrillaGirlsBroadBand
P.O. Box 69
New York, N.Y. 10116
For interactive activist lectures and events, GuerrillaGirlsBroadBand is represented by Soapbox, Inc. Please contact Jennifer Baumgardner or Amy Richards at:
jenandamy@soapboxinc.com
266 West 23rd Street #3
New York, NY 10011
telephone 646-486-1414
fax 212-627-4725
www.soapboxinc.com
The Theater Wing of the Guerrilla Girls, Guerrilla Girls On Tour, Inc. began critiquing the entertainment world in 1996, and in 2000, with Commissioning support from the New York State Council on the Arts, wrote and produced “The History of Women in American Theatre.”
Guerrilla Girls, Inc. maintains the archives of the Guerrilla Girls and focuses on book projects and artworld concerns. Penguin has just published their new book, Bitches, Bimbos and Ballbreakers: The Guerrilla Girls’ Illustrated Guide to Female Stereotypes.
For information and contact with all three wings of the Guerrilla Girls,
please visit http://www.guerrillagirls.info
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2. Dread Scott and others comment on role of political art, TONITE, 6:30 PM at Nathan Cummings Foundation.
Confrontation or Commentary: the Role of Political Art in Society
Artists Talk
Derrick Adams, Sheila Batiste, Simone Leigh, Brad McCallum and Jacqueline Tarry, Sol Sax, Dread Scott. Moderated by Lorenzo Pace
Tuesday, November, 11, 2003, 6:30 PM
Nathan Cummings Foundation
475 10th Avenue, (bet. 36th & 37th) 14th Floor
New York, NY
Confrontation or Commentary: the Role of Political Art in Society is curated by Danny
Simmons Exhibition dates: October 5, 2003 – December 19, 2003
I hope that you can make the talk. If you can’t make it and would still like to see the
show, it is open for viewing M-F 10-12, 2-5. You must call Karen Garrett at (212)787-7300 x206 to make an appointment.
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3. Barbara Hammer, FF Alumn, at Anthology Film Archive, Nov. 23, 4pm
Barbara Hammer, FF Alumn, screens RESISTING PARADISE, Nov. 23, 4pm at Anthology Film Archive (2nd St and 2nd Ave) as part of the MIX Festival. $10. RESISTING PARADISE, 80 min, 16mm essay documentary. What are our responsibilities during a time of political crisis?
War forces people to make choices. WWII in Southern France is the setting for this film that highlights the painters Henri Matisse and Pierre Bonnard along with war resisters and refugees. They all lived or passed through Cassis and other towns along the Mediterranean Coast where light made a paradise of shimmering reflections. What did they do in time of war? Viewers will be challenged to look at their own choices in troubling times
Shot in the Mediterranean fishing village of Cassis, France, the film recounts the histories of French and German Resistance fighters as well as those of the painters Bonnard and Matisse, who continued to produce landscapes, portraits, and still lifes in this land of light and beauty, even as the Nazis occupied France. How can art exist during a time of political crisis?
The unique Resistance stories of the wife, daughter and son of Henri Matisse are highlights of this compelling documentary noted for its painterly beauty and complex editing strategies.
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4. Raul Zamudio, FF Alumn, curates video works at Windsor Hotel, November 15
“The Pleasure Dome”
A series of video works curated by Raul Zamudio, 2003-2004 Curatorial Director, White Box
Artists: Teresa Serrano- Mexico City/NY, Tiong Ang-Amsterdam, Cleverson- Brazil/NY, Oreet Ashery-London, Stuart Croft-London.
“The Pleasure Dome” is 1 of 7 curatorial projects to be shown in the exhibition “Moving Images” and will individually take place in rooms on the 7th floor at the Windsor Hotel, 108 Forsyth St. NY, NY, November 15; continous exhibtion screenings from 7:00-11:00 pm, penthouse party afterwards till 2:00 am.
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5. Todd Alcott, R. Sikoryak, FF Alumns, at Dixon Place at the Marquee, November 12
Back for one FINAL show this year, it’s…
CAROUSEL
An evening of cartoon slide shows and other projected pictures.
On the bill are these fine artists and performers:
Todd Alcott,
Megan Montague Cash,
Brian Dewan,
Kaz,
Michael Kupperman,
Jim Torok,
James Urbaniak,
Lauren R. Weinstein and Patrick Hambrecht,
and your host R. Sikoryak.
Presented by Dixon Place
Wed. Nov. 12, 2003
9 pm
$10 or TDF
at The Marquee, 356 Bowery (Great Jones & E. 4th St.), NYC
This event is part of the Dixon Place Veteran’s Series.
All proceeds (including bar income!) benefit DP’s new home, so come thirsty!
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6. Jacki Apple, FF Alumn, at Armory Center for the Arts, Pasadena, CA, Nov. 21-23
Visual, performance, and sound artist Jacki Apple, FF Alumn, will be a collaborating guest artist performing in Rudy Perez: Old, New, and In-Between, the Rudy Perez Ensemble’s presentation of SHIFTS, a full-length work that traverses the prodigious career of ground-breaking post-modern choreographer, performer, and teacher Rudy Perez’ and celebrates his 25 years of creative innovation in Los Angeles. Perez’s latest endeavor, is a synthesis of his well-established movement vocabulary and his ongoing experimentation with site specific situations. A master of spatial design, Perez takes over the entire Armory space in a five part work that moves from balcony, to workshop, to gallery, to workshop, and back to balcony, resituating aspects of earlier works in a new context, and seamlessly juxtaposing them with the latest works. Apple, who has collaborated with Perez both in New York in the 1970s, as well as in Los Angeles in the 80s where she was a member of Perez’s Art Moves workshop, will add the vocal texture to the tapestry by performing both old and new texts based on her 1984 soundscore (with Tom Recchion) for Perez’s Urban Suite as well as new works, crosscutting shared and separate histories and futures.
Where: The Armory Center for the Arts, 145 North Raymond Ave., Pasadena CA 91103 When: Friday, November 21, 2003, 8PM, Saturday, November 22, 2003 2 PM, and Sunday, November 23, 2003, 5 PM
Tickets: $20, Students $10, Fri night preview $10.
Reservations: 626-792.5101 ext 117
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7. Yoav Gal, FF Alumn, multiple events in November-December 2003
Hi all,
I will be unveiling two new pieces in three concerts in the next few weeks.”Ir Shel Shalom” is a piece for solo vibraphone and pre-recorded voice commissioned and performed by David Cossin of Bang on a Can. “Colonnade” is a scene from the video opera “Mosheh”, staged with costumes and video projection, performed by soprano Heather Green and Pamplemousse Ensemble.
Sunday, November 9th at 4pm: “Colonnade” at Safe-T-Gallery in Williamsburg, Brooklyn, as part of a Pamplemousse Ensemble concert. Safe-T-Gallery is located at 134 Bayard St. between Graham and Manhattan Avenues, on the border of Williamsburg and Greenpoint, Brooklyn www.safeTgallery.com
Thursday, November 14th at 8pm: “Colonnade” at Renee Weiler Hall at Greenwich House Music School as part of a Pamplemousse Ensamble concert. Greenwich House Music School is located at 46 Barrow Street, NY. www.gharts.org or (212)242-4770.
Thursday, December 4th at 8pm: “Ir Shel Shalom” and “Colonnade”, as part of ZOOM: COMPOSERS CLOSE UP – Emerging Composers Hosted by Michael Gordon Merkin Concert Hall is located at 129 West 67th Street, (between Broadway and Amsterdam Avenues), New York. Information: 212-501-3303. Box Office: 212-501-3330
More information bellow (sorry it’s a bit long)
Love,
Yoav
Sunday, November 9th at 4pm, the Dubuque Music Series at Safe-T Gallery proudly presents “Ensemble Pamplemousse.
This blossoming young ensemble is a coalition of performers and composers striving to do their thing at the top of their field. Using video and lighting to accompany great music, this group puts on a show that is a real pleasure for the audience, as well as the dead composers looking down to check up on their successors. As a preview concert to shows on November 14 at the Renee Weiler Concert Hall in Greenwich Village and December 4th at Merkin Hall, Pamplemousse will perform Yoav Gal’s new opera “Mosheh”, Rich Bennett’s “Deus Ex Machina”, and Michael Gordon’s “ACDC.”
Pamplemousse is:
Argeo Ascani: saxophone
Yoav Gal: composer
Heather Green: soprano
Andrew Greenwald: percussion
Max Midroit: piano
Jon Rossman: clarinet
Yaniv Segal: violin
Laura Usiskin: cello
Rama Gottfried: composer and co-artistic director
Natacha Diels: flute and artistic director
Show is $10, $8 for students/seniors
For more information on Ensemble Pamplemousse and the Dubuque Music Series,
please visit www.safeTgallery.com
Hope to see you!
The series takes place at Safe-T-Gallery, an elegant art-space carved out of a single-story industrial warehouse. The setting is comfortable and intimate with the audience size extremely limited. The concerts promise to be joyous, informal gatherings of extraordinary musicians and listeners.
Safe-T-Gallery is located at 134 Bayard St. between Graham and Manhattan Avenues, on the border of Williamsburg and Greenpoint, Brooklyn. All the concerts begin at 4pm on Sunday afternoons. Tickets are available on the day of the concert at the door, reservations can be made at www.safeTgallery.com. Directions can be found on the website, or read on…
By Subway, Bus and Foot.
L Train – Graham Ave. Station. The L Train runs across 14th St. in Manhattan, with connections to the A,C,E, 1,2,3,9,F,V,N,Q,R,W,4,5 and 6 trains. The Graham Ave. Station is the third station into Brooklyn. From the station follow Graham Ave (Via Vespucci) north, (towards the Brooklyn-Queens Expressway and midtown Manhattan.) Cross under the BQE and continue for one block, turn left on Bayard St. to #134. (About 1/4 mile walk.)
G Train – From Brooklyn and Queens exit at Nassau Ave. From the station walk south (away from Manhattan) along Manhattan Ave. to Bayard St. Turn right to #134. (About 1/4 mile.)
Bus – The B 43 stops at Bayard St. and Graham Ave. northbound and Meeker Ave. and Graham southbound.
Walk from Pierogi — From Pierogi walk 1 1/2 blocks East (away from Bedford Ave.) to Roebling St. Turn left and walk 3 blocks to McCarren Park. Turn right onto Bayard St. (along the edge of the park) continue for 3.1 blocks to #134. (Less than 1/2 mile walk.)
By Car
From Manhattan and Brooklyn via the BQE – From Manhattan take the Brooklyn, Manhattan or Williamsburg Bridge and follow the signs to the Brooklyn-Queens Expressway toward Queens. Use Exit 33 – McGuinness Blvd. Bear left at exit, pass under the BQE and make a sharp left onto Meeker Ave. Drive one block to Graham Ave. and turn right. Drive one block to Bayard and turn left to #134. From Queens and Triborough Bridge – Take the Brooklyn-Queens Expressway toward Brooklyn (Verazzano Bridge). Exit 34 Meeker Ave. (First exit after the Kosciusko Bridge.) Continue straight along Meeker Ave (following under the BQE) to Graham Ave. (One block beyond the McGuinness Ave. entrance ramp.) Turn right on Graham, drive one block and turn left onto Bayard St. to #134.
From Long Island – Use the Long Island Expressway and follow signs to the Brooklyn-Queens Expressway (Verazzano Bridge) near the Midtown Tunnel. Follow the directions from Queens above.
From Connecticut and Eastern Bronx – Cross the Whitestone Bridge to Queens. Take the Van Wyck Expressway, then follow signs to LaGuardia Airport (Brooklyn-Queens Expressway). After passing the airport bear right and follow the signs to Brooklyn / Verazzano Bridge. Follow the directions from Queens above.
DRIVING LESSONS: A NEW MUSIC CONCERT
November 14, 2003 8pm
Renee Weiler Hall at Greenwich House Music School
Pamplemousse presents its second concert as a full-fledged new music ensemble at the Renee Weiler Concert Hall of Greenwich House Music School. This ensemble is dedicated to the production and performance of new works, following a philosophy of freedom and creativity. Pamplemousse performances include theatrical presentation, video projections, and improvisation.The Driving Lessons’ concert will include works by three of the group’s members. These works are: Yoav Gal’s opera “Mosheh”, Rama Gottfried’s “Chamber Concerto”, and Rich Bennett’s “Deus ex machinas”. Also on the program are works by Michael Gordon, David Lang, and Ernie Stires. This program is intended to lure in both new music connoisseurs and novices by appealing and repelling in a strangely addictive fashion, much like Robert Dick’s “Flying Lessons.” Tickets are available on the day of the show. More information about Greenwich House Music School’s concert program is available at www.gharts.org or (212)242-4770.
Greenwich House Music School is located at 46 Barrow Street, one block west of the intersection of Bleecker Street and Seventh Avenue South on Barrow Street. It can be reached by the subway lines A, B, C, D, E, F, Q and 1 and 9 lines. Bus service is available on the M8 and M20 lines. Riders on the 1 or 9 trains should exit at the Christopher Street/Sheridan Square station (one stop below 14th Street going south or if traveling north one stop after Houston Street.) Walk south, turn right onto Barrow Street which is directly after Bleecker Street. The Music School is located in the middle of the block.
ZOOM: COMPOSERS CLOSE UP – Emerging Composers
Thursday, December 4, 2003
8:00 PM
Hosted by Michael Gordon
What’s it like to be a young composer working in today’s music scene? Meet composers Daniel Kellogg, Yoav Gal, Gabriela Lena Frank and Aaron Travers; hear their music and the stories behind their work in an informal discussion from the stage.
Merkin Concert Hall is located at 129 West 67th Street, (between Broadway and Amsterdam Avenues) New York, NY 10023. Information: 212-501-3303. Box Office: 212-501-3330
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8. Paul Zaloom, FF Alumn, launches new website, www.paulzaloom.com
After years of research and deliberation and procrastination and sitting on my ass, finally my glorious website is on line and awaiting your perusal,interaction, and vicious criticism. Please go to http://www.paulzaloom.com
Thank you, and so long!
Paul Zaloom
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9. A.A. Bronson, Istvan Kantor, Rachel Rosenthal, Annie Sprinkle, Martha Wilson, FF Alumns, in FADO’s Performance Party/Auctin, Nov. 29, Toronto
Fado presents a Gala Performance Party and Auction
Saturday 29 November 2003, 8 pm
The Gladstone Hotel, 1214 Queen Street West, Toronto
Cover $10
Featuring hipster music, performance art actions, and an innovative auction of performative artworks to be realized especially for YOU, the successful bidder.
Fado throws down the 2003 party gauntlet with a spectacle of all things performative.
Catch live music sets by cougarrific hip-hop punk bitches Stink Mitt, by the always-edgy Sook-Yin Lee, and by cult fave Bob Wiseman. Enjoy the tune spinning of DJ Tone Deaf. Off-stage, integrated into the crowd, you’ll encounter ambient actions by Johanna Householder, Louise Liliefeldt, Kelly Mark, Clive Robertson & Germaine Koh, and Dave Dyment.
Bring your chequebook, too, because we have a novel approach to the art auction. The suave Wayne Baerwaldt will auction performance objects and conceptual works to be performed especially for the successful bidders by international art icons including Annie Sprinkle, Stelarc, Rirkrit Tiravanija, James Luna, AA Bronson, Rachel Rosenthal, and Martha Wilson; by Canadian performance legends including Rebecca Belmore, Shawna Dempsey & Lorri Millan, Tanya Mars, Fastwürms, Margaret Dragu, Daniel Olson, and Glenn Lewis; and by rising stars such as Will Kwan, Sandy Plotnikoff, Zoë Stonyk, and Jinhan Ko — plus many more (see a more complete list below).
Just a few performance items available for auction:
AA BRONSON*HEALER, a “healing session” for the winning bidder from AA Bronson – a private encounter on the artist’s premises in Toronto or New York, involving both conversation and an extended healing massage
A work by Rirkrit Tiravanija involving a mysterious set of keys
A Custom Beautification Package from the City Beautification Ensemble, to help the successful bidder in his or her daily fight against the ill effects of grey-nausea Descriptions of the items for auction will be posted the week before the event on Fado’s website, www.performanceart.ca, and advance bids can be sent by email to bids@performanceart.ca until 11:59 pm on 28 November 2003. Fado Performance Inc. is a Toronto-based non-profit artist-run organization dedicated to presenting, documenting and promoting performance art. Founded in 1993, its activities include presenting performances, artist talks, festivals, residencies, exchanges and workshops, and publishing. Fado’s previous activity is documented on line at www.performanceart.ca
Contact Fado at info@performanceart.ca or telephone (416) 822-3219.
AUCTION INCLUDES WORKS BY:
Rebecca Belmore, AA Bronson, Chandra Bulucon, City Beautification Ensemble, The Clichettes, Shannon Cochrane, Paul Couillard, Shawna Dempsey & Lorri Millan, Margaret Dragu, Fastwürms, Alissa Firth-Eagland, Istvan Kantor, Jinhan Ko, Will Kwan, Glenn Lewis, James Luna, Tanya Mars, Michael McCormack, Frank Moore, Michael Morris, Boris Nieslony, Daniel Olson, Sandy Plotnikoff, Randy & Berenicci, Flakey Rosehips, Rachel Rosenthal, Svar Simpson, Annie Sprinkle, Stelarc, Zoë Stonyk, Rirkrit Tiravanija, Martha Wilson
Visit our website – http://www.performanceart.ca
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10. Barbara Kirshenblatt-Gimblett at Lower Manhattan Cultural Council, Nov. 12, 7-9 pm
Join us for new media public programs, part of Motion Studies, a multimedia exhibition and dialogue series exploring movement and performance from intimate actions to public gestures.
Formations Of The Everyday: Street Performance, New Media, Public Display
Wednesday, November 12, 2003, 7-9pm
Interdisciplinary artist Bill Shannon, digital artists Shelley Eshkar and Paul Kaiser, and urban anthropologist Barbara Kirshenblatt-Gimblett employ the perspectives of both performance theory and new media practice to explore how the “ordinary” is constituted in the performances of everyday life. As Kishenblatt-Gimblett has remarked “the taken-for-granted world is invisible except under special conditions-when boredom is induced by the sheer repetitiveness of the banal or when poesis transforms the utterly ordinary or when the shock of the sensational, spectacular, or exotic calls the taken-for-granted into question.” Bill Shannon’s movement interventions into urban space, Kaiser’s and Eshkar’s projected cityscapes depicting the elegant choreography of mundane street life, and Kirshenblatt-Gimblett’s studies of urban vernacular culture dramatize the implicit rules that govern the action of everyday life and propose alternative readings and patterns in the social life of the city. Moderated by Wayne Ashley, LMCC’s curator of new media.
For more information, visit http://www.lmcc.net/OneWallStreetCourt/public_programs/formations_everyday.html
DIRECTIONS:
2/3/4/5 to Wall Street
J/M/Z to Broad Street
N/R to Rector Street
M6 to Broadway and Wall Street
To get to LMCC walk eastbound on Wall Street to Pearl Street. Turn right on Pearl Street. The building will be directly in front of you. The entrance is on Pearl Street in the middle of the block. For a map, click here: http://www.lmcc.net/AboutLMCC/LMCC_map.html
Motion Studies is made possible, in part, with public funds from the New York City Department of Cultural Affairs, and the Electronic Media and Film Program of the New York State Council on the Arts, a state agency.
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11. Stanya Kahn, FF Alumn, new video work, The Brewery Project, LA, opening Nov. 15
Stanya Kahn, FF Alumn, shows new video work, in collaboration with Harry Dodge, at the Brewery Project in Los Angeles.
Soft Machines
nov 15- dec 19, 2003
Video Installations by
Nancy Buchanan / Cynthia Maughan, Marisa Alexander Clarke, Harry Dodge, Annetta Kapon, Ken Marchianno, Sheree Rose, Liza Ryan, Erika Suderburg
Video Screenings:
Eileen Cowin, S.E. Barnet,/Kahty Chenoweth, Annetta Kapon, Jim Ovelmen, Harry Dodge/Stanya Kahn, Nancy Buchanan, William Jones
Organized by Joseph Santarromana
Opening Reception 15 November, 7-10 pm
Hours 12-5pm
Project Director: John O’Brien
The Brewery
676 South Ave. 21, #33
323 222 0222
This series is possible thanks to
Kathleen Reges, Richard Carlson
and Carlson Industries
Directions from Downtown: 10 East to 5 North, Off On Main Street Exit, Right on Daly, Right on North Main, Left On South Avenue 21, through the gates and park. Upstairs in the large building with the chimney that has “The Brewery” written on it.
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12. Matthew Geller, FF Alumn, Foggy Day at Cortlandt Alley, thru Nov. 14
Foggy Day
A temporary, open-air installation
by Matthew Geller, FF Alumn
at Cortlandt Alley
between White and Walker Streets
(one block below Canal Street and one block east of Broadway)
through Friday, November 14th
November 1st to 13th
Noon to 5:30 PM (except Mondays)
Closing Day Special
Friday, November 14th
Noon to Midnight
Images, press release & other information:
http://channel.creative-capital.org/project-foggyday/
Foggy Day is a project of Creative Capital with fiscal sponsorship from the Lower Manhattan Cultural Council.
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13. Nurit Newman, FF Alumn at Sara Meltzer Gallery, opening November 22, 6-8 pm
Room 01: Nurit Newman, Consumed
November 22, 2003 – January 10, 2004
Opening reception Saturday, November 22, 6-8pm
Room 01: Sara Meltzer Gallery is proud to present Nurit Newman’s Consumed. Newman exhibits an installation of six monitors, each displaying a “video portrait.” The artist carefully chooses events that she has recorded and slows them down in order to magnify and examine their subtleties, creating an entire narrative out of a single moment. She then adds her own audio component, which further recontextualizes and fictionalizes the event. In “Consumed,” a woman walks down the street captive in thought. Newman replaces the soundtrack with her own words, reminding and commanding her to breathe. In “Glare,” Newman captures a couple walking across a street in mid-conversation, but the concentrated instant finds a woman obsessed with a man to the extent that she can’t look away from him. The artists’ voice-over adds a layer that underscores the women’s preoccupation as she recalls what she wore on each of their dates. For “Adieu,” Newman imposes an aria onto the image of a young woman on a skateboard, turning this awkward act into a moment of beauty, deep contemplation, and emotion. These videos exist in a transitory presence between document and fiction, further emphasized by their style. The images are purposefully pixillated, influenced by painting more than cinema. As a result, these portraits manage to portray myriad mysteries: the elusiveness of the fleeting glance, the dual presence and absence of the artist hand, and the anonymous introspection into strangers’ lives.
Nurit Newman has exhibited at the Guggenheim Museum, Franklin Furnace, the Bronx Museum, Art in General, White Columns, MoMA, The Brooklyn Museum, and The Jewish Museum.
sara meltzer gallery
516 west 20th street
new york, ny 10011
p 212-727-9330
f 212-727-9583
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14. Tim Miller, FF Alumn, news from Japan tour.
Hi All,
Check out a piece below I wrote in the current TDR about my performance in Tokyo last December as the keynote performer at the Performance Studies Conference in Japan. This piece is included at the end of this e-mail. The conference at Dokkyo University in Tokyo was really amazing. Also take a peek at the November American Theater Magazine- I wrote a really fun essay called “Oklahomo” about my new show “Us” and the general “Musicals and The Formation of Queer Politics/Identity” terrain. Finally, Prof. Deidre Heddon at Exeter University in England wrote a big article about my work that just appeared in the UK in New Theatre Quarterly from Cambridge Univ Press. I have been such a busy writing boy!!! Detailed info below.
The Drama Review (TDR), 47:3 Fall 2003 T179
“TOKYO TIM — A REPORT FROM THE DOKKYO UNIVERSITY PERFORMANCE STUDIES CONFERENCE” This is an essay I wrote about my experience as the keynote performer at the Performance Studies Conference in Japan in December, 2003.
American Theatre Magazine, November 2003
“OKLAHOMO!” An essay I wrote on the musical and how it shaped queer cultural and political identity.
New Theatre Quarterly (NTQ) August 2003, Number 75
“Tim Miller’s Autobiography of the Future” By Dee Heddon
Prof. Heddon presented this essay about the use of futurity in my work at the British Sociology Association Autobiography Group conference last July.
Hope everyone is well!
best, Tim Miller
http://hometown.aol.com/millertale/timmiller.html
TOKYO TIM by Tim Miller, The Drama Review Fall 2003
A REPORT FROM THE 2002 DOKKYO UNIVERSITY PERFORMANCE STUDIES CONFERENCE
Hello.
Konnichiwa.
My name is Tim.
Watashi no namae ha Timu desu.
I come from America.
Watashi ha amerika kara kimashita.
I love Japan.
Nihon ga daisuki desu.
Do you come to this bar often?
Kono bar ewa yoku kimasuka?
Let’s take off our clothes.
Fuku wo nugimashou.
I walked naked through the audience in a theater in Japan trying to scope out whose lap I would plotz my sweaty butt down on for a section of my performance. I knew I was in trouble when I saw a young Japanese woman hiding her eyes to avoid my nude, Western, gaijin body! She was not just covering her face with a few fingers, but rather burying her head as far as possible in her armpit under a tangle of elbows and forearms. I was performing in Tokyo at the Dokkyo University International Forum on Performance Studies. This remarkable conference was organized by Professor Yuichiro Takahashi, a leader in Japanese inquiries into performance theory and practice. I was fortunate to be invited to perform my work at the forum along with performer Denise Uyehara, my colleague from LA, and Japanese installation artist Yoshiko Shimada. The conference was subtitled “Resistance, Mutation and Cultural Hybridities” and definitely all three of those things were happening as I gamboled without clothes through the aisles and the Dokkyo student’s gaze crept further and further inside her armpit. Now admittedly, I have made young ladies – as well as young men – all over the English-speaking world shrink into their seats with eyes gazing heavenward when they encounter my queer narratives on stage and even queerer body in the orchestra seats. Sure, dismantling the unfamiliarity, the ick-factor and general invisibility of lesbian and gay embodied experience is one of my main jobs as a performer wherever I travel and perform, but there was something quite unique about approaching my first audience in Japan, indeed my first audience in Asia! Though I have performed before in many countries, cultures and languages – and even allowing that this was an international conference sponsored by the English Department at Dokkyo University — I felt a particular challenge with this first performance in Japan. My inner self-doubt monologue was fast and furious: How will this Japanese audience make sense of my homo-centric world view? Why should they give a shit about the travails of an American gay performance artist? In my text-heavy US performance, how are they even going to understand a word of that I say! We can coolly theorize about the pitfalls of cross-cultural dialogue, but the specificity of the live performance is a much more gnarly, real-time communication challenge. On the upside, there is a kind of freedom that comes to the performer when the audience is not necessarily understanding every word you say on stage. (As if even with any English-speaking audience we can ever assume that!) My performance in Tokyo felt set free in some ways by the problematizing of language. It gave me opportunity to understand the piece in a totally different way, to literally make sense of it anew. I have had this experience before when performing in Sicily or Belgium or Austria, but I felt a fresh set of performance possibilities come forward in Japan. Of course, as I performed the piece I indulged that universal human tendency to negotiate language borders by beefing up my idiosyncratic sign language, a post-modern semaphore of gestural commentary added to my already high-energy, kinetic performance style. But I knew I wanted to come up with some fun, wild but simple translation devices to make my nonstop English work for this mostly Japanese audience. In Japan this need I had to translate not so much the show’s English, but my own experience of performing the show created interesting opportunities for collaboration and juicy two-way pedagogy. Many e-mails between Yuichiro Takahashi and I zipped over the Pacific discussing strategies for how the performance could pack the best wallop for this audience in Japan. With Prof. Takahashi’s assistance one of his students at Dokkyo, Masashi Shiratori, translated my voice-over text of an extremely homoerotic film of myself and another fellow cavorting and performed the text real time in the piece as a kind of duet aria. Not only did Masashi get to have a bravura full-throated, sexy monologue that seemed to be a great performance experience for him, but he also got a translation extra-credit! For another section, my longtime Japanese friend in New York, Gen Watanabe, translated and recorded a kind goofy Berlitz Japanese-English gay language lesson that I had written for the Tokyo performance. This brand new section of the performance for the Dokkyo Conference gave me a chance to learn how to say “Suck my dick ” in Japanese — Shakuhachi shite, if you’re interested-and also ended up being the comic highlight of the performance. Gen and I had long phone calls trying to figure out translations of colloquial English expressions for sex and love, to untangle the very different ways US and Japanese culture experience and name such things. As Gen and I rehearsed the piece, I came to realize how ethnocentric my work’s assumptions are about nudity, the body, and the language of desire. But as we worked on this piece, I also gained a deeper understanding from Gen just how charged it might be for me to be doing a piece like this in Japan. Gen shared with me how much it would have meant for him a few years ago as a young Japanese gay man in University to have such an out, sex-positive, queer performance happen as part of an international conference. I thought of Gen’s words many times during my adventure at Dokkyo University. As I worked with Gen and Masashi on these simple translations, these gestures of understanding, my psychic and soulful relationship to the performance plan was immeasurably deepened, and I hope I also returned the favor by offering an interesting creative runway for both of these Japanese men. This private, human-scaled, before-the-performance exchange is as important to me as whatever happens onstage.Back to the show in Tokyo and I have left the young woman hiding her eyes and am looking for my victim for audience participation. One of the things I have learned over the years of performing is that I always eventually end up sitting naked on the lap of the person I need to meet in a new city or country. While in Japan, I had been hearing a great deal about the most self-identified gay theater in Tokyo called Flying Stage and I had wanted to meet the folks making that theater happen. As I walked naked through the audience, I was pulled with a huge wash of intuition toward the lap of a Japanese guy. I sat my butt down and – with my limited Japanese on display- we performed together this intimate dialogue about presence and sweat and the encounter of real humans in these theaters and performance spaces. After the performance I would find out that I had picked Shin-ichi Sekine, the playwright of the Flying Stage for this sweaty butt-on-the-lap moment. It is such encounters, serendipity and translations that renews my faith in the potential of performance and the heart-held hope that we do have a fighting chance to communicate across oceans, languages and even the footlights.
Tim Miller is a solo performer and the author of the books Shirts & Skin, and Body Blows. He can be reached at http://hometown.aol.com/millertale/timmiller.html
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15. Tom Otterness, FF Alumn, at Harvestworks, November 14, 7 pm
Harvestworks Digital Media Arts Center Presents:
Video Screening: Political Projects
Friday, November 14, 7PM
This program is FREE to the public
596 Broadway, Suite 602, NY, NY 10012/corner of Broadway & Houston
212-431-1130 (p), 212-431-7693(f)
http://www.harvestworks.org
Political Projects presents film and video shorts that engage social and political concerns ranging in focus from local to global issues, linking personal perspectives to broader political agendas and histories. Selected video shorts have been produced using varied means and narrative structures combining found footage and imagery with text, digital animation, straight documentary, and layering of recent documentation with historical film and video.
Works by Beth Miranda Botshon, April Koester, and Tom Otterness take New York City as a site of political potential. Sarina Khan Reddy, René Twarkins, and Liselot van der Heijden explore the aesthetics of war and cultural history. Manuel Acevedo, Andrew Demirjian and Holen Kahn consider the impact of specific political machinations on events and locations outside of the United States.
Beth Miranda Botshon’s Keep the Change/Quedate el Cambio gives voice to the experience of an undocumented worker in New York City. April Koester’s Die-In at Rockefeller Center connects a recent action against the War in Iraq to the civil rights movement of the 1960s. Tom Otterness’ 9-11 is an animation piece that enlivens his sculptural forms, creating a gestural response to recent world events.
Sarina Khan Reddy’s The Great Game: A New World Order? mixes text, sound, and video as a critique of the new colonization embodied in globalization. René Twarkins’ video assembles historical footage of combat as a reflection on how war is documented, archived, and remembered. Liselot van der Heijden’s Monument Valley takes up the displacement of native tribes in the United States, and how tourism and the production of Hollywood narratives have been used to augment American cultural history.
Manuel Acevedo’s Albizu Project is a poetic rumination on Pedro Albizu Campos struggle to maintain a Puerto Rican national identity. Holen Kahn’s Diplomatic Immunity calls into question the United Nations’ pomp and proceedings during the Rwandan genocide. Andrew Demirjian’s Yerevan Conversations is a participatory experimental documentary of life in Yerevan, Armenia where gangster capitalism has taken hold since the country became independent from the Soviet Union.
This program has been organized by Sara Reisman, an independent curator, with Hsin I Liu.
Harvestworks is a nonprofit Digital Media Arts Center that provides resources for artists to learn digital tools and exhibit experimental work created with digital technologies. Harvestworksí new 5.1 surround sound presentation laboratory is funded by the Booth Ferris Foundation.
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16. Kim Jones, FF Alumn, at ArtPace, San Antonio, opening November 13
Kim Jones, FF Alumn is in the New Works: 03.3 exhibition at ArtPace in San Antonio, TX. The opening reception is on Thursday November 132 from 6:30 to 8:30 pm. Kim will also participate in a public artists’ dialogue on Friday, November 14 at 6:30 PM. The exhibition continues thru January 25, 2004 at ArtPace, 445 Noth Main Ave, San Antonio, TX www.artpace.org
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17. Alien Comic, FF Alumn at La Mama, Nov. 13-30
La MaMa ETC presents Butt-Crack Bingo, a Banquet of Bad Taste written by Jack Bump and directed by David Soul, starring Alien Comic, FF Alumn and others. Nov. 13-30, 2003. Thursdays thru Saturdays, 10 pm. Sundays 5:30 pm
No show on Thanksgiving November 27
The Club at La MaMa ETC
74A East 4th Street
New York, NY
212-475-7710
www.lamama.org
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~~end~~
Goings On are compiled weekly by Harley Spiller
Click http://www.franklinfurnace.org/goings_on.html
to visit ‘This Month’s World Wide Events’.
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